What Jazz are you listening to now?

[burning dog]

That's true I met Dave Green and Trevor Tomkins in the Bar at a gig and Dave spoke about playing and listening to jazz with Charlie Watts as a kid.

[burning dog]

[CGR]

I spent 40 or so minutes in the bath yesterday afternoon listening to Hank Mobley's album Workout. Sheer bliss.

[Serial_Apologist]

I spent 40 or so minutes in the bath yesterday afternoon listening to Hank Mobley's album Workout. Sheer bliss.

Hank Mobley or the bath? You weren't electrocuted, by any chance?

[BLUESNIK'S REVOX]

Hank Mobley or the bath? You weren't electrocuted, by any chance?

"Margaret Thatcher used special 'electric' baths to stay youthful, it has been claimed.

The former Conservative Prime Minister used to visit an Indian practitioner who would run 0.3 amps* of electricity through water, a new memoir recalls.

Mrs Thatcher's use of the bizarre treatment, which was thought to keep women looking youthful, was initially revealed in a 1989 profile in Vanity Fair." D.Mail 2016.

*Now, 240 VOLTS, direct to the mains...I'd have paid to watch that...better than chucking an Argos toaster in...

BN.

[Serial_Apologist]

"Margaret Thatcher used special 'electric' baths to stay youthful, it has been claimed.

The former Conservative Prime Minister used to visit an Indian practitioner who would run 0.3 amps* of electricity through water, a new memoir recalls.

Mrs Thatcher's use of the bizarre treatment, which was thought to keep women looking youthful, was initially revealed in a 1989 profile in Vanity Fair." D.Mail 2016.

*Now, 240 VOLTS, direct to the mains...I'd have paid to watch that...better than chucking an Argos toaster in...

BN.

At Ian's recommendation I have at last got around to his recommendation to listen to Mark Dresser's recent output, and paying some attention to the link below. I don't know quite why, but I just don't seem to be able to warm to this stuff, even though his sax player Rudresh Mahathappa sounds very like an alto-playing version of Paul Dunmall, albeit with Charlie Parker rather than late Coltrane as his starting point.

https://www.youtube.com/watch?v=BCrzTUU4HmA

[Ian Thumwood]

The Robert Carter gig last night was staggeringly good. It was freezing inside the church but the music was more than a match for the splendid architecture of one of the best Victorian churches in Hampshire.

The first set was a solo recital which started with an original which recalled Chick Corea before branching off in to a few standards and a swathe of jazz compositions by the likes of Wynton Marsalis, Charles Lloyd, Jobim, former collegue Chris McGregor and Bill Evans. Saxophonist and flautist Andy Panayi joined in for the second set which was more playful and featured a wider proportion of standards including "Yesterday" and "Smike gets in your eyes." There was clearly an understanding between the two musicians but Carter's choice of material certainly put Panayi up for a challenge with further pieces which raised the game including a Latin version of "Giant steps" (which worked really well) , a composition by Arthur Blythe and Keith Jarrett's "Prism."

It is a strange world jazz. Last night was superb and, if you like, demonstrated how good British jazz can be. I suppose that neither musician is likely tofeature on the cover of "Jazzwise" yet, in my opinion, this was well beyond the level of musicianship of Laura Jurd last week and demonstrated a far better understanding of what jazz is really about. I would describe Carter as being somewhere in the stylistic bracket of Corea / Jarrett/ Taylor and with an incredible harmonic palette. Some of the material suggested a propensity for 3/4 but the original compositions had a complication and sophistication about them that pushed the music towards more contemporary classical music. To be honest, it is staggering that something this good is under the radar with Panayi being right on the money, his original dedicated to the late Bobby Wellins nailing his colours firmly to the mast. It was a small audience with only three people below the age of about 20 and I was probably the fourth youngest!! Amusing to have Panayi enhaging in good humoured banter with the yuoung couple in the front row and asking about whether they played musical instruments. Whilst Robert Carter had the air of a dedicated professional, I felt that Anay Panayi was very affable.

Why are these two wonderful musicians given more credit by the jazz public.

[Stanfordian]

Cannonball Adderley with Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones & Louis Hayes
‘The Cannonball Adderley Sextet in New York’
Riverside (1962)

[Serial_Apologist]

The Robert Carter gig last night was staggeringly good. It was freezing inside the church but the music was more than a match for the splendid architecture of one of the best Victorian churches in Hampshire.

The first set was a solo recital which started with an original which recalled Chick Corea before branching off in to a few standards and a swathe of jazz compositions by the likes of Wynton Marsalis, Charles Lloyd, Jobim, former collegue Chris McGregor and Bill Evans. Saxophonist and flautist Andy Panayi joined in for the second set which was more playful and featured a wider proportion of standards including "Yesterday" and "Smike gets in your eyes." There was clearly an understanding between the two musicians but Carter's choice of material certainly put Panayi up for a challenge with further pieces which raised the game including a Latin version of "Giant steps" (which worked really well) , a composition by Arthur Blythe and Keith Jarrett's "Prism."

It is a strange world jazz. Last night was superb and, if you like, demonstrated how good British jazz can be. I suppose that neither musician is likely tofeature on the cover of "Jazzwise" yet, in my opinion, this was well beyond the level of musicianship of Laura Jurd last week and demonstrated a far better understanding of what jazz is really about. I would describe Carter as being somewhere in the stylistic bracket of Corea / Jarrett/ Taylor and with an incredible harmonic palette. Some of the material suggested a propensity for 3/4 but the original compositions had a complication and sophistication about them that pushed the music towards more contemporary classical music. To be honest, it is staggering that something this good is under the radar with Panayi being right on the money, his original dedicated to the late Bobby Wellins nailing his colours firmly to the mast. It was a small audience with only three people below the age of about 20 and I was probably the fourth youngest!! Amusing to have Panayi enhaging in good humoured banter with the yuoung couple in the front row and asking about whether they played musical instruments. Whilst Robert Carter had the air of a dedicated professional, I felt that Anay Panayi was very affable.

Why are these two wonderful musicians given more credit by the jazz public.

From the company he'd kept, I'd always had Andy Panayi down as a traditional mainstreamer, until I heard him on quite a recent recording, can't remember which. I was very impressed with his flute playing on that. Thanks for a very good report, Ian, but when "Smike gets in your eyes" it's advisable to be wary of outward-projecting sound receivers!

[Ian Thumwood]

SA

It was a good evening all told and it is the second time that I have heard this pianist play at this venue. The curious thing was that the audience seemed to be local parishioners and the gig was not really well publicised. The first time I was aware that there was any music being played at this church was a fly poster on a telegraph pole that I read whilst coming out of the barbers which is, incidentally, opposite the pub where Victor Meldrew was run over about 20 years ago. Twyford is located east of Winchester and is a small village outside of which there has been a music festival for the last few years during the August Bank Holiday. There were a few jazz fans in the audience but I would have guessed the majority would have had a connection with the church. All the tunes were announced and it was noticeable that it had to be explained who John Coltrane was even though the audience seemed very appreciative of some music which could be been considered demanding.

Of the two musicians, I would say that Andy Panayi was really in the mould of Bobby Wellins on tenor and produced a very nice tone on the flute. This is music that would be welcomed by a demanding jazz audience yet it was effectively performed for the benefit of the general public. There was no concession to the audience in this respect and the first set concluded with a freely improvised piece. However, the original compositions were the most interesting element along with the raiding of non-standard jazz repertoire. It was notable that AP was readily at home playing "Yesterdays" and not at all phased by "Giant steps. " He did comment how difficult "Prism" was to play but this was a highlight of the gig for many. I met to the gig with a tenor-playing friend and he was very complimentary of Panayi's playing which probably owes more to Sonny Rollins than Coltrane.

I think that this gig would have been supported more had people been made aware. The church is almost inaccessible and the scramble to get cars out of the single track road at the end of the gig could have put people off. However, I think this is a good demonstration that you can put something on for the general (non-jazz) public that doesn't need to pander to popular taste. As I said, there was an absence of younger people in the audience.


http://https://www.bing.com/images/s...verlay&first=1

[BLUESNIK'S REVOX]

From the company he'd kept, I'd always had Andy Panayi down as a traditional mainstreamer, until I heard him on quite a recent recording, can't remember which. I was very impressed with his flute playing on that. Thanks for a very good report, Ian, but when "Smike gets in your eyes" it's advisable to be wary of outward-projecting sound receivers!

OR..."Smike is a pop musical adaptation of a small part of Charles Dickens' Nicholas Nickleby, that was televised for the BBC in 1973. The musical is based on the character Smike from that novel" (Wiki)

I seem to remember that Ron Coltrane played the supporting character of "Coker" in that production. Him and Hank Shaw as a pair of Thames river mudlarks. Or was it Dame Helen Mirren.

BN.

[Ian Thumwood]

Wonder if anyone heard the "Great lives" over the weekend which was about Lionel Bart ? I had heard the name and knew of "Oliver" but found it quite interesting to learn about his rapid rise and fall. Never really liked the idea of musicals but the thought of a "mockney" musical is too much to bare. Dickens is best left on the page where the richness of the language is more apparent. The programme featured Len Goodman who seems to be the "go to" character for some recent documentaries about big bands but whose judgement I always suspect of having little room for jazz. I wasn't convinced by the argument of Bart's greatness and the music just seemed symptomatic of the time. Even Goodman admitted his last "Robin Hood " project was dreadful.

[burning dog]

Ian.

Mockney?

You must have a very high threshold for Cockney authenticity!


"He grew up in Stepney; his father worked in the area as a tailor in a garden shed. The family had escaped the deadly pogroms against Jews by Ukrainian cossacks "

Couldn't get much more of a classic Cockney background, but he was born in "leafy" Hammersmith

[Serial_Apologist]

Couldn't get much more of a classic Cockney background, but he was born in "leafy" Hammersmith

It's all said to depend on which Bow Bells. Mine would have been the ones at St Mary Le Bow.

[burning dog]

It's all said to depend on which Bow Bells. Mine would have been the ones at St Mary Le Bow.

The Bow Bells theory surely depends on what day or time of day someone was born - on a quiet Sunday with the wind in the right direction...?